Translation is a threshold, a potentiality, the non-state of becoming versus the concretized literality of existence. In its various guises it possesses the capacity for creation and destruction, the collapsing of the known past within the ambiguity of the present. Time, in its stead, is nonlinear, cyclical, disorderly, even violent. The act of translating—its physical and metaphorical connotations—disrupts the flow of communication and bodies, uprooting etymological origins in favor of communicative affect that in its deficiency likens itself to desire: that which is strived for but never fully attained.

Every translation is a kind of betrayal of the original. A supraextension of the self. A movement.

Over the course of an evening, six dancers engaged in a series of choreographed and improvised encounters in collaboration with New York artist Kara Rooney and Czech dancer/choreographer Martin Talaga. The resulting performance examined the complexities of translation across language and cultures, one in which the diacritical line between personal and collective was dissolved by a libidinal linguistics, enacted through the collision of bodies, object, and spoken word.